Is Release A Humour? Classic electro pop single by the band formed by '70s jazz fusion musician Mark Moulin [Placebo]. Alternative Names: None. Related Artists: Marc Moulin. Why you should buy from us. Our buying office where we pick the best stock for selling. The album is a mix of 5 original Telex tunes and 5 covers.
Highlights include "This Is Your Song", a "love song" as only Telex can bring it and only the second ever in their catalogue ; a faithfull cover of the Sparks' " 1 Song in Heaven", which is not a surprise, given the huge admiration of Telex for the Sparks; "Move", a typical song of Telex's dry humor the song is about a horse that doesn't want to move ; and the closer, a Telex take on "La Bamba", which is used widely in Europe in college crowds to bring out wallflowers.
The least effective tune is a slowed-down cover of "Jailhouse Rock", in the tradition of Telex's cover of "Rock Around the Clock". Separate from the music, the album's cover notes on all the songs by the Telex guys are great fun.
It's great to have these guys back! I never thought that they'd ever record another album. Telex has been covered extensively over the years, and their influence is substantial.
On first listen, no track grabs the listener quite like "Move! This song really could have been at home on a Blue Monday or early-Depeche Mode album. The thumping bassline is introduced from the beginning and keeps the dance vibe present throughout the rest of the track's running time. The importance of the bassline is immediately understood upon listening. The name of the track is repeatedly uttered in the tone of a ghost from Scooby Doo, and is immediately followed by the ney of a frightened horse.
Entirely to be expected on a Telex record, but it still interrupts the desire to get up and move one's feet. The most well-known of the covers is probably "Jailhouse Rock. Kept very simple throughout, even the vocals are given very little distortion. The presence of synths is maintained at a minimal level and the beat is steadily mid-tempo.
It's such a joyful, low-key interpretation of the Presley classic that the listener simply does not wish it to end. Ritchie Valens' "La Bamba" ends the disc, with the tune's melody more than capably being represented by the keyboard work. Unlike the other covers, most of the lyrics are thrown to the side altogether. What is retained is drenched in the most distortion found on the entire album.
Still, the vibrant fusion of Latino and American rock shines through. For a band known for not taking itself seriously in any way, shape or form, this reunion album definitely gives the impression of trying to place a retroactive importance on the band's work.
Of course, this impression may not have been intended, as is evidenced in the band's refusal to write lyrics with any level of sincerity. That is, aside from Telex's evident desire to free the electro dancer within every listener. The electro pop's cult trio is often mentioned as sources of influence for many established electronic artists.
Most of their records from back in the days have become huge collectors items, still played by deejays nowadays. All the trademark ingredienst are here: the Telexian characters, the Telexique humour, the Telexectric appartent musical simplicity or can we call that minimalism too?
We got ten points from them and finished on the 19th spot" Marc Moulin. Their song "Euro-Vision" was a cheerful bleepy song with deliberately banal lyrics about the contest itself. The Eurovision audience seemed unsure how to react to the performance, and after the band stopped playing there was mostly stunned silence, with scattered polite applause; Marc Moulin took a photograph of the bewildered audience.
The band walked off amidst sounds of muttering. A mark of the confusion caused by the performance was when vote-counting began, and Greece awarded Belgium three points, the announcer thought she had misheard and tried to award the points to The Netherlands. All of this was clearly bad news for the band's English record label, Virgin Records, who were trying to pass them off as part of the New Romantic movement.
For their third album, Sex, Telex enlisted the suddenly hip US group Sparks to help write the lyrics. However, the band still refused to play live and preferred to remain anonymous — common practice in the techno music artists they later inspired, but unusual in The fourth Telex album, Wonderful World, was barely distributed.
By then, the band's earlier sound had influenced many other groups, but they had abandoned it in favor of sampling and a more up-tempo humorous style.
It was social commentary, but so bizarre as to be almost incomprehensible to most listeners; the album found little commercial success.
In , Telex revisited all of their old tracks and remixed them to resemble the house music and other genres that had followed in the wake of Telex and others' early pioneering work in electronic pop. The result was Les Rhythmes Automatiques, which apparently inspired Kraftwerk to do the same for their album The Mix in It comprised five original compositions as well as five covers. Thanks a lot! Total Rox! Thank you a lot for sharing the informations! Unsourced material may be challenged and removed.
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This reissue contains the 9 originals tracks including the "hits" Twist a St. In the US, Telex achieved brief notoriety with the underground club version of Moscos Discow, which since then has been imitated often, but never equalized. This reissue includes both the "regular" and the "12 inch underground club" version of the song.
If you like good synthesizer dance music, you cannot go wrong with "Looking for St. Belgium-based Telex is one of maybe 4 or 5 music groups that planted the seeds of modern day electronica. Sure Gary Wright was proud to tell the world that all of his musical sounds were created by keyboards. But Telex took the keyboards, added a toe-tapping beat and a few quirky lyrics to create such early dance classics as "Moskow Diskow" and "Twist A Saint Tropez.
They didn't have the visual sort of glam image of some of their contemporaries such as Visage or Human League. They didn't experiment as much as some of their contemporaries like Ultravox and Depeche Mode. You won't hear any heavy reverb, heavy compression, or bass-boosted electronic drumbeats on this CD. You will hear a band that had a whole lot fun making music. They didn't have much commercial success outside of the French speaking nations, which is why a majority of the songs on this CD are sung in French.
But there were a few English translations and some of those are here. I have always liked Telex since I bought my first Telex album back in I rate it a "4" because nothing is perfect. There are a few slow moments.
Still, I hope that you have fun listening to this. I did. But they aren't purists, and thus aren't above using a toy shaker and even gasp! At this time Telex were contemporaries of Giorgio Moroder, though not as hit conscious, and of Kraftwerk, though more down to earth and less "on a mission". I'm only familiar with their work of this period; there really wasn't any other band like Telex.
Their sound on "Looking for Saint Tropez" is unique, as it is on "Neurovision" , on which album they somehow manage a more cartoonish and gossamer sound while remaining quite recognizable.
The reissue also contains 10 bonus tracks, including the non-album single Soul Waves first time ever on CD , and various B sides and obscurities check out the instrumental track Troppical. Never again would Telex equal its mixture of electronic dance tunes, humor, sarcasm and wits as well as displayed on "Neurovision".
If you can buy only one Telex CD, look no further. Telex was a throughly unique band. I was pleased to find this in a relatively affordable CD. I had their material rare as it is on vinyl, which I purchased during the early 's. I was not aware of the French version of "B-Sides.
That was a personal treat for me. This has a lot of the band's secondary "hits," not that they were producing Top 10 tunes every three months when they were together. All sounds are generated electronically. In fact, the Sparks stayed in Brussels for two years, working on Telex productions. This album was, in fact, their only true collaboration and the last Telex 'pop' album Ron and Russell Mael wrote all the lyrics on this one, filling the album with strange and hilarious stories of alienation, hazy love, Sigmund Freud dancing at a party, and other crazy pieces While Telex tried to go new wave and wrote classic-structured pop songs with complex production and arrangements The result worked fine.
They would go back to minimalistic arrangements and typical electro sound three years later on Wonderful World so this album stands alone in their discography. But it is worth investigating for its pop side and nicely written lyrics and melodies This reissue also contains 10 bonus tracks, including B sides Dummy, Basta , an early version of L'Amour Toujours the definitive version of which would appear on their next album, Wonderful World and the "12 inch" version of Brainwash, the best tune on the album and only "real" hit.
One listen to the double-entendre filled "Sigmund Freud's Party" tells it all.Dj Mix # - Hackfreed - Dance Television Set 01 - by DanceTelevision published on TZ Dj Mix # - Priantae - Vinyl Only by DanceTelevision.